1) What are your favourite moments from On Hold?
While this list is far from exhaustive, three moments particularly stand out to me.
Early in the show, there is a trio set to music that vaguely resembles a dial tone (though far more pleasing to the ear). It seems to me that the dancers are pushing through the confines of stagnation, their bold, sharp, staccato movements reverberating past an invisible barrier that threatens to hold them in place. I love how their abrupt gestures pulse with passion and intention while simultaneously conveying a sense of limitation and repetition. This section is a pleasure to watch from the sidelines!
Secondly, I love dancing in the piece that immediately follows. It begins in a state of
uncertainty and dependance before bursting into exploration and discovery. To me, this section signifies a rejection of imposed expectations: particularly in moments when a
preordained path is put on pause, creating space for risk and self-exploration. This isn’t
to say the piece necessarily ends neatly or happily, but it acknowledges the beauty that
can emerge when life is interrupted and earlier plans are set aside.
Lastly, without revealing too much about a particular prop, I love the imagery in a
section that reflects on life’s passage through ‘the sands of time.’ It reminds me of the
opening lines from William Blake’s Auguries of Innocence:
“To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of your hand
And eternity in an hour.”
For me, this part of the show highlights the depth that can exist within the seemingly
insignificant, offering an exploration of growth through reflection and introspection.
2. What has been different about the creative process for On Hold compared to previous shows?
Unless I’m forgetting something, this is the first show in years where every developed
piece has made it into the final edit! That’s not to say every movement phrase has
remained intact or that sections of choreography weren’t significantly altered, but there’s
usually at least one number that gets cut entirely because it doesn’t align with the
narrative’s overall flow. In fact, we’ve even joked about creating a performance
someday that exclusively features these lost numbers. Ironically, you could say this is
the first production where no sections were put ‘on hold.’
Additionally, this is the largest group I’ve ever worked with during my time dancing for
Broken Rhythms. Alongside the performing cast, two full-time swing performers have
been integral to the creative process. It’s been wonderful having such a diverse range of movement influences in rehearsal, and I’m incredibly proud of the work everyone has
put into this production.
See Allison in Broken Rhythms upcoming production of ‘On Hold’
Premieres April 4 2025 at 7:30 PM McPherson Playhouse.
Bio:
Allison (she/her) was born and raised on the traditional land of the Snuneymuxw people,
where she began dancing at the age of three. During her youth, she spent several years
training with Dancestreams Youth Dance Company, which provided her opportunities to
work with esteemed choreographers and tour both locally and internationally. She has
trained with the Arts Umbrella Dance Company, The National Ballet School of Canada,
Canada’s Royal Winnipeg Ballet School, and École Supérieure de Ballet du Québec
and is now a Contemporary instructor at Ballet Victoria Conservatory. Allison began
dancing with Broken Rhythms Dance Company in 2018, and she has been part of the
creation and development process of many original works. Most recently, Allison
performed in Broken Rhythms’ original production Knotted, which premiered locally at
the McPherson Playhouse, and in the remount of 1,000 Pieces of π, which toured to
Winnipeg this past summer.
Broken Rhythms 